WWW.IVANTWOHIG.COM

It Goes On Opening Tonight June 2nd 6PM

2009-06-02T08:13:00.000-07:00

I have a piece in a group show at Temple Bar Gallery called It Goes On. Check it out here: http://www.templebargallery.com/

Alan Butler, Brendan Flaherty, Eilis McDonald, James Merrigan, Ivan Twohig and Soft Blonde Moustache

Curated by Rayne Booth

Preview: Tuesday 2 June 2009
Exhibition continues 3 June – 18 July 2009

Shape Workshop

2009-04-04T06:02:00.000-07:00

The Shape Workshop took place in Glór on Monday 2nd of March 2009. A group of 35 pupils from my old school in Inagh took part in the construction of a large architectural instalation in the main concourse of the building. We had great fun assembling the shapes and putting them into all sorts of variations.

The shapes were constructed from cardboard tetrahedra and held together with clothes pegs. (Although I reinforced them with wire in the installation just in case!) Thanks to all those who were involved, Inagh National School and Debbie and Emma who came down from Dublin and helped facilitate the workshop.

Escape Velocity Photos

2009-04-04T05:25:00.001-07:00

The Multiple Skulls of Elias Canetti

A.U.R.A.S. [A Unique Reproducable Accessible System]

Instructions

Dyptich: Summer Blockbuster/Just Do It

Detention

Civilisation

The Black Molecular

'I Like the Artworld and the Artworld Likes Me'

Escape Velocity March 6 at 6.30

2009-02-27T07:15:00.000-08:00

My New years resolution of keeping a blog going more than a few weeks is not going according to plan! But the reason is I am busy with the show. Which is not a very good excuse when I look at the amount of time people like Edward Winkleman, Brian Sherwin and Bobby Solomon put into their respective blogs on top of their work (or 'as part of it' I should say).

Escape Velocity opens next Friday in Glór and I am more excited to see how the Shape Workshop turns out than my own installation. The unpredictability is a nice aspect expecially when there is kids involved in making the decisions.

The point of departure for this exhibition is the term Escape Velocity (the speed needed for a body to escape a gravitational field) used by the French theorist Jean Baudrillard to describe how, in (post)modern culture, things seem to lose sight of their historical references to reality. The work on show utilizes everyday objects and playful interactive installation to draw the audience into the more complex issues regarding media, mass culture and the pressures that an ever more commercialized art market places on artists at the early stages of their careers.

As well as the exhibition in the gallery, the concourse space at glór will also feature a large architectural installation that will consist of 300 Triangular cardboard units constructed during a ‘Shape Workshop’ with local schoolchildren. Participants will learn intuitively how to create intriguing structural forms through hands on construction using simple templates and easy to find materials such as cardboard and glue. By folding into shape modular units the participants create various spatial structures. Using this tactile method of learning the participants will be introduced to the history of form and shape, geometry and the science behind the way the world around us is constructed. The workshop facilitators are Emma Wade and Debbie Jenkinson.

www.ivantwohig.com

work by sebastian errazuriz

2009-02-07T03:16:00.000-08:00

I came accross this designer/artist on designboom. I've seen his design work before and thought it was brilliant but he also does some great urban art that can be seen on his website: http://www.meetsebastian.com/english/

There is couple of inspired urban interventions like the 'The Tree'

and 'The Cow' in which a cow, rescued from a slaughter house is relocated to a field on the roof on top of a 10 storey building in the centre of Santiago. It is strategically placed in direct view of Chile's political, religious and economic powers.

Some Nice Design too:

via designboom

Talking Art: Interviews with Artists Since 1976

2009-02-01T17:01:00.000-08:00

This I must get. Art Monthly has just published a compilation of interviews from artists since 1976.

Contributors include: Naum Gabo, Clement Greenberg, Victor Pasmore, Robert Motherwell, Agnes Martin, Anthony Caro, Brice Marden, Alan Charlton, Frank Stella, Carl Andre, Sol LeWitt, John Baldessari, Hanne Darboven, Hans Haacke, Richard Serra, Daniel Buren, Dan Graham, Michael Snow, Gilbert & George, David Tremlett, Jasper Johns, George Segal, Claes Oldenburg, Mark Boyle, Gustav Metzger, Ed Ruscha, Patrick Caulfield, Richard Hamilton, David Hockney, Howard Hodgkin, RB Kitaj, Ilya Kabakov, Leon Golub, Joseph Beuys, Stephen Willats, Barbara Kruger, Krzysztof Wodiczko, Jeff Wall, Liam Gillick, Richard Deacon, Anish Kapoor, Bill Woodrow, Sophie Calle, Gary Hill, Jimmie Durham, Thomas Struth, Willie Doherty, Mark Wallinger, Anya Gallaccio, Steve McQueen, Douglas Gordon, Tacita Dean, Simon Patterson, Angela Bulloch, & Mike Nelson.

Edited by Patricia Bickers and Andrew Wilson
Essay by Iwona Blazwick
Introduction by Patricia Bickers
Publisher: Ram Distribution, 2008

(via minusspace)

New Website

2009-01-30T05:04:00.000-08:00

Maybe you came here from the link on my website. But if you didnt check out my new website that I have updated with a couple of new projects. www.ivantwohig.com . I'll be updating it as much as I can before the show in Glór in March. Also I will be exhibiting with Patrick Wagner in 126 in Galway in April. So looking forward to that too.

Light Wave Opening

2009-01-21T01:59:00.000-08:00

Lightwave is opening this weekend. Should be some intersting work and talks going on. Some things I am looking forward to seeing are:

LIGHTTALK: LIGHT HARVESTING - Dmitry Gelfand & Evelina Domnitch

24 Jan 2009

(Time:

18:00

)

Location:

Science Gallery Cafe

Ticket Info:

Free (no booking required)

Dmitry Gelfand and Evelina Domnitch discuss their work on creating sensory immersion environments that merge physics, chemistry and computer science with uncanny philosophical practices.

LIGHTTALK: BETTER THAN REAL - Beau Lotto

28 Jan 2009

(Time:

19:00

)

Location:

PACCAR Theatre

Ticket Info:

€5.00 (10% off original price for members) | pre-booking essential

Get Tickets

Stemming from his research into sensory-substitution and sensoryaugmentation, hear Beau Lotto (Lottolab Studios) discuss his research that focuses on tools for the blind to ‘see’ and ‘feel’ with their ears, and the basic principles by which the perceptual mind creates sensory narratives. Lottolab Studio is using its synaesthetic software (coded by Ilias Bergstrom of Lottolab Studio) to enable users to create and control an orchestra with colour.

Wise Words of Jim Jarmusch

2009-01-21T01:22:00.000-08:00

If anyone has been subscribed to any blog recently they have probably come accross that brilliant Jim Jarmusch quote about the non-existence of originality. I saw it on fffound and its where I got the Goddard quote at the top of my blog. I thought that I would post the other of Jim Jarmusch's 5 Golden Rules of Filmmaking. The same goes for any art form. I think its pretty good advice.

Rule #1: There are no rules. There are as many ways to make a film as there are potential filmmakers. It’s an open form. Anyway, I would personally never presume to tell anyone else what to do or how to do anything. To me that’s like telling someone else what their religious beliefs should be. Fuck that. That’s against my personal philosophy—more of a code than a set of “rules.” Therefore, disregard the “rules” you are presently reading, and instead consider them to be merely notes to myself. One should make one’s own “notes” because there is no one way to do anything. If anyone tells you there is only one way, their way, get as far away from them as possible, both physically and philosophically.

Rule #2: Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary.

Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.

Rule #3: The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down.

Rule #4: Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics...).

Rule #5: Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.” MM

Via Movie Maker

Mathew Brown - PSP/RCA

2009-01-10T13:26:00.001-08:00

I love all things 'Low-Poly'! Hmm maybe a low poly blog is in order. I started using Pepakura Designer during my MA project at NCAD and since then I think I have developed a hightened sensitivity to anything tetrahedral. I came accross these brilliant shelters for gamers who cant see the screens of their consoles out in public spaces on Mathew Brown's profile page on the RCA Design Interactions website. "A Sponsored project completed during Summer 2005 with Alan Outten and four other students from Design Products and Industrial Design Engineering. It consists of a landscape of cocoon-like furniture derived from the statue-like forms of people sitting, standing or leaning against walls engaged in playing the PlayStation Portable (PSP)." Here is a link to the project site:

Clone then Heal

2009-01-09T11:57:00.001-08:00

My latest project is an online work that I am going to publish on www.quarantinegallery.com
pretty soon. Over the years I have been downloading images of my favourite artworks, most of which are set in the standarised 'white walls grey floors' gallery setting which forms either a one point or two-point perspective image. What I mean by this is that there is usually a similar formal concept to every image taken of artworks within the gallery environment. I started using photoshop to place my own artworks into these images. But when I started making mistakes with the clone and heal brush in photoshop I was pretty impressed by the results. So what I began to do then was to completely copy entire gallery websites or artist websites and create a fake version in which all the artworks are smudged and blended into the walls of the gallery by using the Clone and Heal brush in Photoshop. I'm a pretty big fan of Steffan Bruggeman and his work is suitably focused on erasure and obliteration so its perfect for being 'Cloned and Healed'. Here are a few examples of what will be on the website. I'll hopefully upload it this month.

My Documents by D.B. TwohigK

2009-01-09T11:47:00.001-08:00

My father has been writing poetry for some years now. I came accross this written on a piece of paper stuck in a book. I have not enquired yet but I am presuming it was written while he attended a course on basic computer skills (all of which were promptly sent to the cerebral recycling bin a few minutes after the last class I imagine). I think its really funny though. Especially if you know my father.

'My Documents' by D.B. TwohigK

To Follow an arrow
With a mouse
Enter File
Then browse around
Into format and select,
Cut and paste
To delete,
Lean on table
Then undo
Rub the eyes
And unglue
Then reflect
Between the cursor and geneflect
Press paint shop
To escape
Leap from window
Can't re-do
Cry Help! again
At last at last
To shut down zoo
Off to the zoo.

Heartbeat Detector

2009-01-09T10:53:00.001-08:00

I watched the film Heartbeat Detector (La Question Humaine) by Nicholaas Klotz over the Christmas and I cant get the final speech by the character Arie Neuman out of my head, about the growing distance between human relationships and the language we use as it becomes specialised and technical. I wont go into details on what he says or what the film is about the scene is basically the culmination of a great movie that sees a young self assured psychologist who works in the human resources department of a petrochemical corporation unravel as he is asked to investigate the state of mind of a senior executive in the company.

This was one of those movie experiences where I had absolutely no idea what the story was about before I watched. It happened with Pan's Labarynth which is probably one of the greatest movies of the last 10 years in my opinion. It's so nice to see a movie without the many preconceptions that you have from all the peripheral media that surround them. So dont watch the trailer! Just see it.

2009-01-06T18:39:00.001-08:00

Everyday things have the potential to be reimagined in so many ways. The more objects we produce the more we lose sight of the potentiality of objects and the infinite possible other functions they may take on. Similarly the more images we produce the more we lose our grasp of the metaphoricity of those images. Objects and images are becoming lighter and they are spinning around us faster and faster. Eventually they reach escape velocity and exit the gravity of their meaning altogether. When this happens can no longer care about them. How do we return significance to things?